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Movie Review

I Do... Until I Don't is mostly a big don't

Alex Bentley
Sep 1, 2017 | 12:30 pm
I Do... Until I Don't is mostly a big don't
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In 2013, actress Lake Bell gained extra fame when she wrote, directed and starred in the well-received In a World…, which found her playing a voiceover artist trying to make it in the competitive world of movie trailers. Unfortunately, the only thing her second film, I Do… Until I Don’t, has in common is her odd obsession with the ellipsis.

This time, she’s turned her attention to the institution of marriage. Three somewhat related couples — Alice and Noah (Bell and Ed Helms), Cybil and Harvey (Mary Steenburgen and Paul Reiser), and Fanny and Zander (Amber Heard and Wyatt Cenac) — are recruited by filmmaker Vivian (Dolly Wells) for her documentary about the uselessness of marriage.

Naturally, each couple has its own quirks or issues. Alice and Noah are trying to have a baby, with scheduled sex their only intimacy. Cybil and Harvey have been together for over 30 years, and boredom has settled in. Fanny and Zander supposedly have an open marriage, but strangely balk when opportunities present themselves.

Commenting on different styles of marriage has long been a theme in films, a fact that Bell has to contend with from the start. The biggest problem for her, though, seems to be self-inflicted, as none of the couples feels remotely like people who love — or even once loved — each other. In almost every case, they come off as caricatures, reacting in ways that are much too strange to believe.

Rather than go for a dramedy that would use comedic elements to underscore more dramatic scenes, Bell aims for an all-out comedy. Still, the situations in which she puts her characters aren't all that funny. She goes for wackiness, but winds up with mildly strange, resulting in actors flailing around, hoping to land a good line or two.

The only reason the film is remotely watchable is its talented cast. Each member of the main sextet has done better work, and the memories from those films or TV shows leaves you unable to dismiss their performances. But even that fact is only good for so long; you'll soon find yourself counting the minutes until the film comes to a close.

With these surface-level observations about marriage and barely-believable characters, I Do… Until I Don’t is not going to be Lake Bell's happily ever after.

Ed Helms and Lake Bell in I Do... Until I Don't.

Ed Helms and Lake Bell in I Do... Until I Don't
Photo by Merrick Morton
Ed Helms and Lake Bell in I Do... Until I Don't.
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Movie Review

Teenage Sex and Death at Camp Miasma gives horror a surreal twist

Alex Bentley
Aug 14, 2026 | 1:30 pm
Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma
Photo courtesy of MUBI
Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma.

The horror genre really ramped up in the 1970s and ‘80s, bringing with it a new subgenre - the slasher - that gave audiences new visuals of gore, but also a reliance on sexism and homophobia that would come to define the era. The new film Teenage Sex and Death at Camp Miasma wrestles with that legacy in ways that are funny, thought-provoking, and downright strange.

Kris (Hannah Einbinder) is a queer filmmaker who has been hired to reboot the moldy IP that is the Camp Miasma franchise, one that was fresh in the 1970s but which numerous shlocky sequels have rendered irrelevant. In an attempt to get to know the property better, Kris has scored a meeting with the reclusive Billy (Gillian Anderson), the star of the original film who has shunned the public eye for decades.

Turns out that Billy lives deep in the woods at Camp Rivoli, which served as the location for the first film. As Kris tries to get to know Billy and convince her to be a part of the new film, she starts to fall under Billy’s spell and the lore of the franchise as a whole. That includes believing that the movie’s villain, Little Death - a transgender person who has an air conditioning vent as a head/mask - may not just be a character created for the movies.

Written and directed by Jane Schoenbrun (I Saw the TV Glow), the film at first feels like it’s going to go the straight-up comedy route, with comic explosions of blood, a strange fascination with candy brands, and a production design that does nothing to hide that the two main actors are on a movie set with painted backdrops. This is backed up by Kris’ phone conversations with her girlfriend, Mari (Jasmine Savoy Brown) and her agent (Sarah Sherman), as well as numerous other details.

But the film starts to go down the surreal route the longer Kris stays at the camp with Billy, especially when they sit down to watch the original Camp Miasma. An extended sequence shows a good amount of that film-within-the-film, demonstrating why Kris and Billy have a love/hate relationship with the property. For Kris, though, the lines between the film and the real world start to blur, and Schoenbrun uses a variety of out-there elements to drive the point home.

The final act of the film can barely be described as Kris goes deeper down the rabbit hole, with Schoenbrun using her film to comment on the horror genre as a whole, its treatment of women and LGBT people, the movie industry, and more. All the while the “camp” of Camp Miasma maintains a presence, with candy wrappers showing up everywhere and the tongue-in-cheek references to Little Death (the French term La petite mort, which means “the little death,” is a euphemism for orgasm).

Einbinder, an Emmy winner for Hacks, is the perfect person to inhabit her role. Her established real-life and fictional personas color everything she does in the film, with her enthusiasm and curiosity shining through. Anderson leans heavily into another reference - Norma Desmond from Sunset Boulevard - to create a character that is as mysterious as she is alluring. Supporting actors like Brown, Sherman, Patrick Fischler, Dylan Baker, and Eva Victor keep the movie at the right pitch all the way through.

While other films have made fun of horror movie tropes before, Teenage Sex and Death at Camp Miasma finds a wholly unique way of doing so. It’s a funny and daring trip into the psyches of two women who may be victims of their own obsessions, and of the movies that made them that way.

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Teenage Sex and Death at Camp Miasma is now playing in select theaters

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